Cult campy and carnal! Viva is the acclaimed new retro sexploitation epic created by Indie feminist director Anna Biller. Meticulously photographed and vibrantly stylised Biller presents a contemporary homage to the classic sixties sexploitation extravaganzas made famous by directors such as Russ Meyer Doris Wishman and Radley Metzger. Viva details the story of Barbie (played by Biller) a bored housewife whose search for sexual thrills leads to an odyssey of swinging sexual liaisons orgies and kinky countercultural kicks. By revisiting 'classic' sexploitation through a cool contemporary and cerebral feminist lens Biller's film provides both a seductive sixties scenario as well as a self-reflexive and savvy commentary on the so-called sexual revolution of the psychedelic decade. According to the Los Angeles Times Biller's unique vision remains an endearing camp travesty musical while Indie flick bible Film Threat has concluded that Anna Biller creates worlds dripping with style that pull viewers into a Technicolor dreamland that serve as a feast for the eyes. Viva combines Playboy chic with postmodern commentary feminism with freak-out retro sexual spectacle. Welcome to the vivacious and visually stylised world of Viva!
This is the hugely popular original hit TV series that inspired two Hollywood blockbusters The Fugitive stars David Janssen as Dr. Richard Kimble a physician unjustly accused of murdering his wife. When his train crashes en route to Death Row. Kimble breaks free from the custody of Lt. Gerard - and runs for his life. Fleeing from town to town switching identities and toiling at countless jobs fuels Kimble's obsession to catch the real killer - a one-armed man he saw leaving the scene of the crime. His obsession is matched only by Gerard's - who blame himself for Kimble's escape and who will stop at nothing to get him back.
John Russell (Scott) a composer and music professor loses his wife and daughter in a tragic accident. Seeking solace he moves into an old mansion unoccupied for twelve years. But a child-like presence seems to be sharing the house and trying to share its secrets with him. Through research into the house's past and a seance held within Russell discovers the horrific secret of the house's past a secret that the presence will no longer allow to be kept...
The only man who can stop the ""Black Manifesto"" of a right wing Russian extremist is ex-CIA Agent Jason Monk (Swayze). Monk will stop at nothing to accomplish his mission. But first he has to stay alive in the shadowy world of the lawless Eastern Block... Classic Cold War espionage thriller starring Patrick Swayze and Patrick Bergin from the pen of acclaimed author Frederick Forsythe.
Featured episodes include: Breakaway A Matter Of Life & Death Black Sun Ring Around The Moon Earthbound Another Time Another Place Missing Link Guardian of Piri Force Of Life Alpha Child The Last Sunset Voyager's Return
Many fans don't rate the second series of Space: 1999 as highly as the first. Responding to audience feedback, as well as the separation of producers Gerry and Sylvia Anderson, the programme makers drafted in new producer Fred Freiberger, the man responsible for the third and weakest season of the original Star Trek. Under his guidance the storylines drifted away from the hard sci-fi of the first season in favour of more action and a faster pace. The theme music, sets and costumes all changed, as did some key personnel. Out went professorial (and very dull) Barry Morse, in came dashing Tony Anholt as security officer Tony Verdeschi, while the glamour quotient was upped considerably by Catherine Schell as the shape-shifting Maya (a much-needed change, since the frosty Barbara Bain had reduced the show's sex appeal to nil in Series 1). Series 2 also introduced lots and lots more aliens kitted out in badly fitting costumes and dodgy glam-rock era makeup. Responding to yet more feedback from American TV executives the protagonists now had to encounter more highly unconvincing monsters than even Dr Who ever dared imagine: "The Beta Cloud", for example, is a classic rampaging-bloke-in-a-suit scenario. That said, this second season has more emphasis on characters other than the headline stars, as various stranded Alphans are allowed to come to the fore instead of just blankly following Commander Koenig's orders. It's all good fun in a silly, nostalgic sort of way, and fans of the more vintage Season 1 will find it hard to resist this second season as well.On the DVD: There aren't many extras here, although sundry interviews with principal cast and crew are scattered across the six discs in this complete box set. There's also a commentary on some episodes with special effects man Brian Johnson, a couple of deleted scenes, production stills and some text features. Each disc has a small booklet that gives some useful background information on the episodes. The remastered 4:3 ratio picture and mono sound are fine. --Mark Walker
Crime novelist Robert Southley (Hugh Sinclair) has a fondness for basing his books on his own experiences. When his luxurious London lifestyle is threatened by an American blackmailer, Southley chooses murder as his best weapon. To his horror, Southley is invited to help solve the case by Inspector MacDougall, in charge of the investigation at Scotland Yard. He reluctantly embarks on tracking down the 'unknown' killer... himself! Adding to his anxiety, his meddlesome secretary pitches theo...
Space 1999 is a Gerry Anderson cult classic as unmissable today as it was when first conceived in 1973. Starring husband and wife team Martin Landau and Barbara Bain Space 1999 revolves around the crew of Moonbase Alpha where scientific experiments are conducted and space data gathered. Disaster strikes and the Moon is blown out of the Earth's orbit by a huge explosion emanating from man-made nuclear waste pits causing it to drift endlessly through t
One of the patients in an institution for the incurably insane was once its director, and a young psychiatrist (Robert Powell) has to figure out which one as they all tell him their stories. What better setting for a horror anthology? It's an inspired framing device, making this one of the better examples of the genre, even if screenwriter Robert Bloch at times resorts to gimmicks rather than invention. The first two stories are less than brilliant (the first is highlighted by dismembered body parts neatly wrapped in butcher paper wriggling back to life for revenge), but Charlotte Rampling and Britt Ekland are marvellous in the third tale, about a mentally unbalanced young woman and her dangerous best friend. Herbert Lom is also excellent in the final story as a scientist who carves an army of dolls he claims he can bring to life by sheer willpower. Director Roy Ward Baker (Quatermas and the Pit) builds momentum with each story until the dark and deliciously bloody climax. This Amicus Studios production looks visually dull compared to Hammer's gothic gloss, but it features a great British cast (including Patrick Magee and Hammer stalwart Peter Cushing), and ultimately Baker makes that gloomy look work for his increasingly creepy production. Amicus produced a series of horror anthologies, including the original 1972 Tales from the Crypt and The Torture Garden (also scripted by Bloch). --Sean Axmaker, Amazon.com
The Henry James Collection features three rich and dramatic adaptations, as compelling and engaging as the novels themselves.The Golden Bowl: Superbly adapted for the screen by Jack Pulman (I, Claudius), Maggie's marriage to the Italian Prince is a marriage of love but also of convenience. When the prince's former mistress joins them, drawing close to Maggie's wealthy father, a chance reflection redirects the lives of those who have touched The Golden Bowl. The Portrait of a Lady: Also adapted by Jack Pulman , on the death of her father, Isabel Archer leaves her married sisters for Europe, stubborn, independent, and in the company of her eccentric Aunt Lydia. Adopted and gifted great wealth by the family, Isabel's confident but blinkered views on life and love will have great impact on the lives of those she is closest to.The Spoils of Poynton: The House of Poynton holds many treasures for Adele Gereth - treasures that are about to be lost to her son and his intended marriage to a most unsuitable woman. On meeting the young Fleda Vetch, Adele is convinced she has found the saviour of her possessions; but her plans may not work out as she wished.
Dorzak: A spaceship lands on the moon. A beautiful young woman emerges from inside seeking medical attention for a colleague who was injured by a criminal that they had captured. The criminal turns out to be a man from Maya's home planet Psychon named Dorzac and persuades Maya that he was not responsible for the injury signalling the start of the troubles to come. Devil's Planet: Answering a distress signal Koenig and Blake Maine go to Entra. The first thing they see is a man being chased by three beautiful girls carrying long electric whips! Maine is killed and then Koenig imprisoned. Can he escape? The Immunity Syndrome: On a seemingly inhabitable planet a series of misfortunes befall Alpha's advance party. Tony Verdeschi is rendered insane by a piercing sound. The metal in the Eagle corrodes and the craft starts to fall apart. Two Alphans die after drinking spring water. Then a skeleton is found inside a geodetic structure with a video beside it explaining how any future visitors might survive. The Dorcons: A huge alien Dorcon ship materialises nearby. When the three leaders demand Maya be sent to them Koenig refuses. A leader comes aboard the spaceship and takes Maya and Alpha by force. But Koenig manages to come along too and using the power struggle between the three leaders tries to rescue Maya.
There is a fifth dimension beyond that which is known to man. It is a dimension as vast as space and as timeless as infinity. It is the middle ground between light and shadow between science and superstition and it lies between the pit of man's fears and the summit of his knowledge. This is the dimension of imagination. It is an area we call...The Twilight Zone! Episodes comprise: 1. Two 2. The Arrival 3. The Shelter 4. The Passerby 5. A Game of Pool 6.
For the time, there had never been a more lavishly produced science fiction TV series than Space: 1999, which was British-made on an astounding first-season budget of 3.25 million pounds, and ran for two seasons from 1975-77. What keeps fans enthralled after all these years has only partly to do with the first-rate production values, the plausibly constructed spaceship models and expert special effects. The tone of the show is one of scientific dispassion, setting it apart from its TV SF predecessors such as Star Trek in which the mood is more generally convivial. Our heroes here are in dire circumstances that require cool heads as a survival trait. Those circumstances: the moon and the 311 crew members of Moonbase Alpha experience a cataclysm that causes the moon to break away from Earth orbit and travel endlessly through space, making our heroes into unintentional explorers. No TV series has created a more palpable feel of hard science fiction than this. Of course, the show is not without its detractors, having been soundly lambasted for its many scientific errors. No less august a figure than Isaac Asimov criticised the show for its premise in the opening episode "Breakaway", which had nuclear explosions on the "dark side of the moon" somehow propelling it out of Earth orbit and flying through space without regard to physical law. In "Earthbound", aliens travelling to Earth state it will take them 75 years to reach their destination, making one wonder why it didn't take the moon that long to encounter the aliens. While these are serious complaints, fans tend to remember the scientific seriousness of the series and the sense of awe created by the many strange creatures and phenomena they encounter on their journey through the galaxy. --Jim Gay, Amazon.com
LA 2015 AD. The Life Corporation a mega-government alliance of the police judiciary and health branches of government has discovered the secret of immortality... Manipulated by a corrupt judicial system in order to complete the first phase of an experimental brain transplant Andre Fuller an innocent man is framed and convicted for the murder of a wealthy woman. In a macabre blurring of a capital punishment and medical science Andre's brain is transplanted into the still liv
For the time, there had never been a more lavishly produced science fiction TV series than Space: 1999, which was British-made on an astounding first-season budget of 3.25 million pounds, and ran for two seasons from 1975-77. What keeps fans enthralled after all these years has only partly to do with the first-rate production values, the plausibly constructed spaceship models and expert special effects. The tone of the show is one of scientific dispassion, setting it apart from its TV SF predecessors such as Star Trek in which the mood is more generally convivial. Our heroes here are in dire circumstances that require cool heads as a survival trait. Those circumstances: the moon and the 311 crew members of Moonbase Alpha experience a cataclysm that causes the moon to break away from Earth orbit and travel endlessly through space, making our heroes into unintentional explorers. No TV series has created a more palpable feel of hard science fiction than this. Of course, the show is not without its detractors, having been soundly lambasted for its many scientific errors. No less august a figure than Isaac Asimov criticised the show for its premise in the opening episode "Breakaway", which had nuclear explosions on the "dark side of the moon" somehow propelling it out of Earth orbit and flying through space without regard to physical law. In "Earthbound", aliens travelling to Earth state it will take them 75 years to reach their destination, making one wonder why it didn't take the moon that long to encounter the aliens. While these are serious complaints, fans tend to remember the scientific seriousness of the series and the sense of awe created by the many strange creatures and phenomena they encounter on their journey through the galaxy. --Jim Gay, Amazon.com
When it was made there had never been a more lavishly produced science fiction TV series than Space: 1999, which was British-made on a first-season budget of 3.25 million pounds and ran for two seasons from 1975-77. What keeps fans enthralled after all these years has only partly to do with the first-rate production values, the plausibly constructed spaceship models and expert special effects. The tone of the show is one of scientific dispassion, setting it apart from its TV SF predecessors such as Star Trek in which the mood is more generally convivial. Our heroes here are in dire circumstances that require cool heads as a survival trait: the moon and the 311 crew members of Moonbase Alpha experience a cataclysm, which causes the moon to break away from Earth orbit and travel endlessly through space. No TV series has created a more palpable feel of hard science fiction than this. Of course the show is not without its detractors, having been soundly lambasted for its many scientific errors. No less august a figure than Isaac Asimov criticised the show for the premise of the opening episode "Breakaway", which had nuclear explosions on the "dark side of the moon" somehow propelling it out of Earth orbit and flying through space without regard to any physical laws. And in "Earthbound" aliens travelling to Earth state it will take them 75 years to reach their destination, making one wonder why it didn't take the moon that long to encounter the aliens. While these are valid complaints, fans tend to remember the scientific seriousness of the series and the sense of awe created by the many strange creatures and phenomena the crew encounter on their journey through the Galaxy. --Jim Gay, Amazon.com
The Metamorph: Koenig goes to rescue two captured pilots from the planet Psychon but comes to meet Mentor a man lording over a world of virtual zombies who work for him as miners. Koenig believes he is capable of defeating Mentor and preventing him using a biological computer that feeds on the minds and bodies of his slaves. The Exiles: Travelling through space are fifty cylinder-shaped objects. When Koenig recovers one inside is a young man named Cantar. This is the mark of the trouble to come as Cantar and his wife force their way into the power station and use its energy to transport them to their own planet from which they were exiled. One Moment of Humanity: Zamara a striking alien woman materialises aboard Moonbase and takes two people back to her own planet. However Zamara and her accomplice Zarl are in fact super-androids developed by successive generations of self-reproducing computers and want to wipe out the humans who invented them. All That Glisters: After scanning a planet which contains Milgonite a rare mineral vital to Alpha's life support system the Alphans are eager to visit it. However by the time that they discover that there is no Milgonite only a deceptive lethal drug it is too late. The deadly rock is already aboard Alpha.
For the time, there had never been a more lavishly produced science fiction TV series than Space: 1999, which was British-made on a first-season budget of 3.25 million pounds--an astounding amount--and ran for two seasons from 1975 to 77. What keeps fans enthralled after all these years has only partly to do with the first-rate production values, the plausibly constructed spaceship models and expert special effects. The tone of the show is one of scientific dispassion, setting it apart from its TV SF predecessors such as Star Trek in which the mood is more generally convivial. Our heroes here are in dire circumstances that require cool heads as a survival trait. Those circumstances are: the moon and the 311 crew members of Moonbase Alpha experience a cataclysm that causes the moon to break away from its orbit and travel endlessly through space, making our heroes into unintentional explorers. No TV series has created a more palpable feel of hard science fiction than this. Of course the show is not without its detractors, having been soundly lambasted for its many scientific errors. No less august a figure than Isaac Asimov criticised the show for its premise in the opening episode "Breakaway", which had nuclear explosions on the "dark side of the moon" somehow propel it out of orbit and sent it flying through space without regard for any physical laws. In "Earthbound", aliens travelling to Earth state it will take them 75 years to reach their destination, making one wonder why it didn't take the moon that long to encounter the aliens. While these are serious complaints, fans tend to remember the scientific seriousness of the series and the sense of awe created by the many strange creatures and phenomena they encounter on their journey through the galaxy. --Jim Gay, Amazon.com
For the time, there had never been a more lavishly produced science fiction TV series than Space: 1999, which was British-made on a first-season budget of 3.25 million pounds, an astounding amount, and ran for two seasons from 1975-77. What keeps fans enthralled after all these years has only partly to do with the first-rate production values, the plausibly constructed spaceship models and expert special effects. The tone of the show is one of scientific dispassion, setting it apart from its TV SF predecessors such as Star Trek in which the mood is more generally convivial. Our heroes here are in dire circumstances that require cool heads as a survival trait. The moon and the 311 crew members of Moonbase Alpha experience a cataclysm that causes the moon to break away from Earth's orbit and travel endlessly through space, making our heroes into unintentional explorers. No TV series has created a more palpable feel of hard science fiction than this. Of course the show is not without its detractors, and has been soundly lambasted for its many scientific errors. No less august a figure than Isaac Asimov criticized the show for its premise in the opening episode "Breakaway," which had nuclear explosions on the "dark side of the moon" somehow propelling it out of Earth's orbit and flying through space without regard to any physical laws. In "Earthbound," aliens travelling to Earth state it will take them 75 years to reach their destination, making one wonder why it didn't take the moon that long to encounter the aliens. While these are serious complaints, fans tend to remember the scientific seriousness of the series and the sense of awe created by the many strange creatures and phenomena they encounter on their journey through the Galaxy. --Jim Gay, Amazon.com
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